Andreas: The first episode of Révélations posthumes I made in 1977 and
these were published the year after in (A Suivre).
The contact with François Rivière
comes from that famous day when Jijé visited the Saint-Luc.
I had a drawing on (site-editor: in Dutch: schaafkarton), my first. That happened to be the only
one of which Jijé had said:""That's good! Look, that is good,
elegant..." Rivière was there as well. He was looking for someone
to do the cover of a Jules Verne book and approached me. Later I asked
him to write a story for me. I believe he didn't feel like it at first,
but I persisted, so eventually he came up with a text on H.P. Lovecraft.
After he had seen the first plates, he became more interested. At first we
worked for Métal Hurlant, for a Lovecraft special. But when I was
finished, Riviere told me: "Métal Hurlant isn't doing well these days,
they don't pay well. Maybe it would be better to go to
(A Suivre)." I must say I didn't feel good about this thing with
Métal Hurlant. That also led to some arguments. Later I understood that
it was really something for (A Suivre). They were looking exactly for
this mixture of comics and literature. After that we continued working for
them. Métal Hurlant was a lost case in all respects.

Andreas: After Révélations posthumes I had prepared a new project for (A Suivre).
It was a rather long story of 120 pages. They refused it at (A Suivre).
I didn't continue it then. It was a somewhat fantastic story,
something better suited for Tintin/Hello BD (fr); Kuifje (nl).
So they were quite right for not wanting it. In the meanwhile I had
left Tintin/Hello BD (fr); Kuifje (nl) and was suddenly out of work.
Luckily my friend Antonio Cossu was in charge of a new series of
black-and-white comics at Deligne (Michel). Then I said to him:
"I want to do something for you." I knew Deligne,
because he had published one of my stories from my time at Saint-Luc,
four plates based on a story by Jean Ray. Deligne was interested in my offer
and paid me - for that time - extremely well. He paid more than Tintin.
During the making of Cromwell Stone I moved to Brittany.
I wrote it in Paris, I drew it in Bretagne.